The rhizome is an antigenealogy (Deleuze and Guattari 2004: 23). This thesis is rhizomatic. It can be read genealogically, but that would be to miss the point. When we write of hypotheses, methodologies, conclusions and bibliographies, such writing sometimes resembles nothing more than a description of a high-school science experiment. To engage with this resemblance would be a static reading, isochronous, frozen in time. A better reading is dynamic, heterochronic and diachronic. At risk of instant contradiction, this thesis is about entanglements and disentanglements, comings and goings. That is the nature of the space, real and metaphorical, in which we live. Endings are coloured by beginnings and beginnings by endings. There are no monads, only (ever-changing) assemblages.

This thesis is about things which are about cyborg music. The thesis and its putative subject exist in Entangled Network Space. It starts with this conclusion. It is about music. And humans. And technology. And philosophy. And time. And, and, and. The constant conjunctions of and, of and, of and. An assemblage is composed of ands, and the ands come and they go. And further ands change the ands. Entangled Network Space is full of voids; andless spaces waiting to be filled by ands and voids which the ands have vacated. It is a space of possibilities. It owes its existence to the real and the real owes its existence to it. It is the immanent, one truly flat ontological space, where being and non-being are equivalent.

The writing has a chronological flow, but it is full of heterochronic wormholes, which may be traversed at the speed of memory or of Google-thought. They are mental footnotes. It radiates and is irradiated. All writing is like this. It is the New Writing in the Hyperconnected Age.